Kozel Chateau Diary

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I took a bus with Student Agency to Pilsen (Plzeň in Czech), a city in west Bohemia where I have explored the historical underground, the Pilsner Urquell Brewery, art galleries, excellent restaurants and the main square, to name just a few. Pilsen was very dear to me, and I loved coming here on day trips. This time, though, I was getting a train to Šťáhlavy, and from there I walked to Kozel Chateau, which I had visited about 10 years earlier on a perfect, sunny summer day.

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This day was by no means perfect. It was cold, and the dark clouds threatened rain. Still, I knew that would not stop me from enjoying this unique chateau, built in Classical style, with four wings surrounded by an inner rectangular courtyard. The architect was Václav Haberditz, who had been based in Prague. I wished I had more information about him, but he was not well-known.

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The design had a simplicity and sobriety to it that I admired. It was restrained, symmetrical and orderly. While I loved traveling to Baroque chateaus, I also appreciated this style that harkened back to forms utilized in classical antiquity. The chateau did not need any fancy exterior fittings to project its beauty.

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I reacquainted myself with its intriguing history. Kozel was erected from 1784 to 1789 for its owner, Jan Vojtěch Černín of Chudenice, who worked for Emperor Joseph II as the supreme huntsman of the Czech kingdom. The chateau, not surprisingly, was designed as a hunting lodge, though a few years later it became the family’s summer residence.

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In the 1790s the chateau was expanded. Four new buildings came into being thanks to Prague architect of Italian origin Jan Nepomuk Palliardi, who specialized in the Classicist style.

The chateau had not always been called Kozel. Its original name was the German Waldschloss or Jadgschloss bei Stiahlav. It is not known how the chateau came to be called the Czech word meaning goat, though a legend says that the ancient Slavs used to sacrifice a goat on this spot during the spring equinox in hopes of receiving a bountiful harvest.

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Jan Vojtěch Černín died childless, so his grandnephew Count Kristian Vincenc Valdštejn-Vartenberk inherited the property. Kozel remained in the family until it was nationalized in 1945 and did not undergo any major changes. I admired that the chateau remained in its original style. So many chateaus underwent such drastic makeovers over centuries. During the 19th century, one owner was Arnošt Valdštejn-Vartenberk, whose claim to fame was establishing an ironworks in Pilsen during 1859. He sold it to Email Škoda in 1869, when the business took on the name Škoda Works, and before long this enterprise would become the most prestigious and largest engineering works in what was at the time Austria-Hungary.

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I walked through the park, though the weather was chilly. I saw ducks, swans, a big pond and a vast expanse of land that merged with the countryside. Here I felt at one with nature. I remembered the last time I was here. I had spent time reading on a bench as well as gazing at the idyllic scenery in the park.

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Now it was time for my tour. The interior was nothing like the Classicist exterior. It was extravagant, luxurious, plush. In one of the first rooms, I admired a clock from London that had only one hand; it dated back to the 16th century. I did not recall ever seeing a one-handed clock. Graphic sheets from Italy showed Italian villas and chateaus, and I was reminded of my passion for Italy and my exciting travels there. How I would love to visit those villas and chateaus! I wanted to see everything in Italy just as I wanted to see everything in the Czech Republic.

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I saw a Classicist commode decorated with intarsia and a few Baroque fans, one showing off a scene of people, dogs and horses. A King Louis XVI bureau hailed from the 16th century and was adorned with Greek and Roman mythological scenes. The intarsia decorating the piece of furniture was outstanding. There also was an impressive tiled stove. I would see similar stoves in all but one space, it turned out.

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Next, we came to the entrance hall. I loved the wall painting by Antonín Turova, who made the room resemble a winter garden with walls showing green ivy on trellises. His al secco method of painting on dry lime plaster was exquisite. I thought of the illusive painted altars I had seen in churches, such as the remarkable one at Hejnice Basilica in north Bohemia. A movable Rococo lamp also caught my attention.

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The Smokers’ Drawing Room included a Classicist bureau and two Rococo cabinets with Meissen porcelain. A collection of pipes was on display, too. It reminded me of my grandfather, who had for many years smoked a pipe. I remember scrutinizing his collection of pipes when I was a child. Then I recalled how proud he was when I was nine and took up his hobby of coin collecting. We walked into one coin shop, and he announced, “This is my granddaughter!” Even today I can see the saleswoman’s smile.

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A bedroom was decorated in 18th century Rococo style with a Classicist bed. The graphic sheets on the walls hailed from Germany and portrayed aristocratic life during the 18th century. I admired the shell decoration on the Viennese porcelain.

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In the Dressing Room, I wanted to relax on the Rococo chaise-lounge and yearned to take home the Renaissance jewel chest inlaid with ivory. In the Hunting Salon, a Baroque desk featuring intarsia showed off hunting motifs. While I was not a fan of hunting, that piece of furniture did impress me.

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There was a Billiard Room as well. I recalled playing pool with my father when I was a child. I played badly, but we had fun. It was treasured father-daughter time. My interest was riveted by the landscape paintings by German and Italian painters. In the Dining Room I gawked at the black-and-gold Baroque thermometer and faience portraying birds and cabbages. The only fireplace in the chateau was Rococo in style.

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The biggest space was the Drawing Room for Social Occasions, where a painting by Turova caught my attention. It showed Radyně Castle, now a ruin, located near Pilsen. I recognized Kozel below it. There were birds, trees, ancient ruins, dogs and an eagle in the painting. The walls were stunning. Medallions were inspired by mythology. I saw Hercules holding a boar, for example.

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The Blue Room or the Countess’ Study intrigued me with its Louis XVI style furnishings. I loved the intarsia table shaped as a globe. It could be adjusted to be an embroidery table or a desk. I would love to have that in my living room, though the cat would probably sharpen her claws on it. Another white tiled stove, this one quite ornate, was on display. A bedroom also boasted Louis XVI furniture and a Classicist mirror.

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The Music Chamber had served that purpose when Jan Černín created it for his first wife Josefína. I took special notice of the piano and harp. I loved the music instruments painted on the walls. The grey-and-light blue painted walls impressed me, too. We came to the Grey Room, the original living room of the countess’ chambermaid. It included Biedermeier furniture from the 19th century. I loved the symmetry of that style, the orderliness, the simple elegance. I took special note of the portable embroidery table that can be closed like a purse – exquisite! Porcelain in display cases also caught my attention.

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The Morning Dining Room showed off a series of Viennese porcelain with shell-shaped adornment. Meissen porcelain was no stranger to the room, either. The Count’s Study featured oriental objects. I loved the turtle figure that looked like a dragon. It hailed from the 18th century. A gilded Classicist desk that featured intarsia was another highlight.

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The library was divided into two parts. It included over 7,900 volumes from 1517 to 1840, including the first edition of a French encyclopedia and 17th century maps. Books from 18th century France were in abundance. The library’s volumes were in various languages – Old German, French and Latin, for example – but, as was the case in many chateau libraries, none of the books were written in Czech. It is worth noting that the library was only moved to Kozel after 1945. It is not original.

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The next room, the Empire Drawing Room, was decorated with Empire style furniture. I loved the painted vedutas of Italian spas on the walls. I thought back to Monreale’s Santa Maria Nuova Cathedral in Sicily and the Church of Saint Peter in Chains (San Pietro in Vincoli) in Rome. What about those arcades in Bologna and all the masterpieces in Ravenna? I loved Italy so much, but I loved the Czech Republic even more. One painting of the eruption of Mount Vesuvius caught my attention. I recalled the views from Mount Etna and from Mount Vesuvius during my trips there. The Viennese porcelain was another treat in that space.

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There was a theatre on the premises, too. Created in the 1830s, it was originally a stable for Jan Vojtěch Černín’s favorite horse. Decorated in Empire style, it was composed of a small, modest stage that served as an intimate space. The equipment was original. The owners’ families had often performed here. I studied the stage set of a lush forest with a wooden church, a tree in the middle.

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What impressed me more than the furnishings of the interior was the wall painting of the interiors, the work of Prague artist Turova, who drew his inspiration from Rococo painting with landscapes and ancient ruins. He also decorated part of the monastery of Břevnov in Prague’s sixth district, and I remember touring the impressive monastery church too many years ago. He painted the interiors over a two-year period, from 1787 to 1789. The reception rooms boasted female figures, putti and deities, for example. The main chateau Drawing Room featured romantic ruins and landscapes.

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The Chapel of the Holy Rood was a vaulted structure with a cupola. The altar, created in 1794, featured a painting of the crucifixion by Turova. Columns and pilasters were not absent, either. The organ was Rococo in style.

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Soon the tour finished. I greatly appreciated this unique architectural structure of pure Classicism. I was impressed that very few changes had been made over so much time. I was also impressed that the chateau had stayed in the family for so long rather than having many owners, each making his or her own changes to the place. The painting decoration inside particularly thrilled me. I was fascinated how the inside could be so different from the outside of the building. I thought the exterior and interior somehow created a sense of harmony, even though they were composed of such different architectural elements.

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I went around the back of the chateau and looked at the countryside from a terrace with a fountain. The views from the chateau were astounding. I only wish the weather had been better. It was not possible to explore paths as it began to rain. Still, I was satisfied with my trip. I went back to Pilsen to take a look at the Brewery Museum and grab a bite to eat at the legendary U Salzmannů restaurant and pub. Then I took a Student Agency bus to Prague, where I returned home, happy to be living in such an amazing country with so many places to explore.

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Tracy A. Burns is a writer, proofreader and editor in Prague.

 

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Libochovice Chateau Diary

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I discovered Libochovice Chateau in 2005 and wrote about it in an article describing chateaus in north Bohemia. It was published during October of that year in The Washington Post. Libochovice is certainly a hidden gem in north Bohemia. I recalled its dazzling displays, stunning tapestries, breathtaking ceiling frescoes and beautiful tiled stoves plus exquisite jewel chests. It is a shame there are not more foreign tourists making the trip there. It has so much to offer the curious castlegoer.
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Before entering the chateau courtyard, I peered at the statue of Jan Evangelista Purkyně, who was born in Libochovice during 1787 and who became one of the leading scientists in the world, as he delved into the studies of anatomy and physiology. His father had worked for the Dietrichsteins, the family who had owned the chateau at that time. For two years Purkyně served as a tutor at Blatná Chateau, a remarkable sight in south Bohemia. Later, he made numerous discoveries in the scientific sphere, such as the Purkinje effect, Purkinje cells, Purkinje fibers, Purkinje images and the Purkinje shift. He also coined the scientific terms plasma and protoplasm. A crater on the moon and an asteroid are named after him.
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Before my trip, I had read up on the history of the town and chateau. Located near the romantic ruins of Házmburk Castle, Libochovice was first mentioned in writing at the beginning of the 13th century. At that time, Házmburk Castle, then called Klapý and by no means a ruin, played a major role in the development in the town. A wooden fortress was built in Libochovice, and it was later replaced by a stone Gothic structure. During the Hussite Wars of the 15th century, the castle in Libochovice was razed, the town conquered.
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The Lobkowiczs took over the properties in 1558, and they were responsible for constructing a Renaissance chateau with 28 rooms on the premises. When Jiří Lobkowicz revolted against Emperor Rudolf II in 1594, he was imprisoned, and his property was confiscated. That’s when the Sternberg family took control. Still, times were not rosy. The Thirty Years’ War did much damage, and during a fire in 1661, the chateau was destroyed.
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When Václav Vojtěch Sternberg sold Libochovice to Austrian noble Gundarkar from Dietrichstein in 1676, a new era had begun. The Dietrichsteins would retain ownership until 1858. The chateau was reborn from 1683 to 1690, designed in early Baroque style. There were four wings with a courtyard decorated with Tuscan pilasters and arcades. A sala terrena on the ground floor led to the garden.
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Unfortunately, Gundakar died before the construction of the two-floor structure was completed. His daughter Terezie was then in charge of the chateau, and she had renovations made in the 1870s. More reconstruction occurred from 1902 to 1912. In the 19th century Johann Friedrich Herberstein added many objects of interest to the chateau collection. An avid traveler, he toured Egypt, Syria, Persia and India, for instance.
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During World War II the chateau’s history was bleak. That’s when Nazis took over Libochovice Chateau. Sixty-five residents of the town and surroundings revolted against the Third Reich and were beheaded by the Nazis. After 1945 the chateau was confiscated and nationalized because wartime owner Friedrich Herberstein had obtained German citizenship. More reconstruction took place throughout the decades, and in 2002 the chateau was declared a national monument.
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I was so excited about this tour. First, we visited the sala terrena, which looked like a richly adorned cave. The vaulted ceiling was incredible. I loved the sea motif as decorative seashells took the shape of a floral design. The reliefs of a sea monster also enthralled me.
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Next, we came to one of the highlights of the chateau, large Saturn Hall, where banquets, balls and concerts had been held. Above the fireplace a stucco sculptural grouping focused on Saturn. The Baroque chandelier, hailing from Holland, also captured my interest.
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From there, we continued to the Baroque section of the chateau. The ceiling fresco in the first room was breathtaking, displaying a mythological scene. A Renaissance chest gilded with ivory and a Baroque jewel chest inlaid with ivory and tortoiseshell were two delights.
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I marveled at the tapestry, one of many I would see in this chateau, in the Big Gallery. It dated from the 16th century, and its theme was the Trojan War. The guide remarked that the tapestries were not put up for merely for show; they had also helped heat the rooms. A Baroque fireplace hailed from 1620. Still, that was not all this room had to offer. A jewel chest featuring carved reliefs hailed from the beginning of the 17th century.
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The Study included an atlas from 1775 with pages of handmade paper. I wanted to turn the pages to find out what the handmade paper felt like. I recalled visiting the papermill in Velké Losiny, located in north Moravia, long ago, when I also toured the chateau there. It had been an enthralling experience, I mused. Then a jewel chest made with intarsia dazzled me. One tapestry in this room showed off a garden party while another sported a plant motif in an idyllic setting. The Baroque stove hailed from 1690. There were so many impressive Baroque stoves in this chateau!
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During the 17th and 18th centuries in the Czech lands, there was much interest in Chinese and Japanese porcelain. The Chinese and Imari Japanese vases in the Oriental Salon reminded me of a trip to Dresden’s Porcelain Museum. The pieces in the chateau were so exquisite. Upon seeing an impressive French Baroque clock, I recalled the one I had seen at Loučeň Chateau a few months earlier. And how I loved jewel chests! This particular jewel chest was inlaid with ivory and tortoiseshell, featured intarsia craftsmanship and portrayed a hunting scene. Another thrilling tapestry was on display. I recalled the exciting tapestries at the Residence Palace Museum in Munich.

In the Bedroom I admired the spiral carved columns of the 17th and 18th century Baroque closets as well as the bed with canopy. A Rococo crucifix was also on display. The tapestry in this room featured King Solomon. I was enthusiastic because I knew there were even more tapestries to come.
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Rococo furniture from the 18th century decorated the Morning Salon. I mused that it must have been delightful to sit in this room and sip black or green tea. Two tapestries portraying the apostles adorned the space. And there was yet another ceiling fresco! This one showed Persephone venturing into the Underworld. I was especially drawn to the jewel chest with pictures of a town carved on its drawers. The attention to detail fascinated me.

In the Ladies’ Cabinet there was a Baroque commode with exquisite intarsia plus a Rococo table and desk also created with intarsia. The three tapestries took up themes of nature and architecture, offering a respite from the religious scenes that the tapestries often portrayed.
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The Men’s Cabinet was decorated mostly with Neo-Renassaince and Second Rococo furniture. A large desk was Baroque. If I had not visited so many chateaus, it would have never occurred to me that the big bowl decorated with images of birds and floral motifs used to serve as an aquarium.
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Next came the chapel. While it was originally designed in Gothic style, the chapel now looks as it did after a 19th century renovation. I admired the stained glass windows. I love stained glass! The Neo-Gothic altar featured the apostles. What captured my attention the most, however, was a 16th century exquisitely carved altar showing off the adoration of the Three Kings. The woodwork was incredible, so detailed, so exquisite.
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The Big Dining Room took on Renaissance and Baroque characteristics. A carpet covered the large table, set for a feast. The tableware was made of pewter, typical of the Renaissance era. On the table there was a bowl that served as a washbasin for guests to clean their hands while eating. And more tapestries to behold! This time the two tapestries portrayed Alexander of Macedonia. Two paintings rendered scenes from antiquity. (The paintings throughout the chateau also are worthy of undivided attention.) Once again, I admired yet another ceiling fresco. This one centered around Aphrodite and Athena. In the corners four female figures in oval medallions represented the four continents. (Australia had yet to be discovered.)
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I liked the Biedermeier furniture in the Small Dining Room. That style seemed to me to have such a sense of order and rationality. Yet I was enthralling by all styles of all eras. The colored decorative porcelain from Dresden and the pink-and-white Viennese porcelain service also caught my eye. The Baroque stove was quite a sight, too.

The Rococo Salon featured furniture of the Second Rococo style from the mid-19th century. The pink walls made the room feel quaint and inviting. Stucco adorned the ceiling fresco. Another Baroque stove and Meissen porcelain made appearances. In a flattering portrait, Terezie Dietrichsteinová – Herbersteinová, a former owner of the chateau, looked calm and content with life. I wondered if I was at a time in my life when I was calm and content. To some extent, yes. And traveling certainly played a major, positive role in my contentment.
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The Empire Salon was decorated with furniture of that style from the 19th century. On the walls were pictures of Dietrichstein properties – Nové Město nad Metují Chateau, Kounice and Mikulov, all rendered masterfully by František Kučera. I liked the clock featuring a tongue that showed the time. The clock making time with its tongue brought to mind images of the living objects in The Beauty and the Beast. From the window there was a splendid view of the park.
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The 19th century library was intriguing because it contained mostly books about natural science and travel, all printed in numerous languages. I had not heard of chateau libraries concentrating on only a few subjects. While about 2,500 books were on display, there were approximately 6,000 volumes in total. Objects that Josef Herberstein had brought back from his travels adorned the room, too. I saw African masks, an African crocodile and a Japanese sword, for instance. Another exquisite Baroque stove stood in the space.
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The last room was the casino. A Russian pool table made in Prague dominated the room. I noticed that the card tables were made with intarsia. Portraits of the Dietrichstein clan hung on the walls. Josef, who loved traveling and hunting, was rendered in hunting attire, armed with a rifle and accompanied by a dog. I mused that he must have been a brave man to travel to such distant lands.
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Next I took a look at the park, which had been created in French style during 1683. Later, it got a Baroque makeover, and then it was changed into an English park. Now it is once again in French style, thanks to 20th century reconstruction. I loved the view of the chateau from the back, which sported floral adornment and a fountain. The chateau looked so majestic when viewed from that area.

I ate lunch at a nearby restaurant on the main square that was sleepy on a Saturday afternoon. Libochovice Chateau had dazzled me once again. The combination of ceiling frescoes, Baroque stoves, jewel chests and tapestries made the chateau unique and irresistible. The paintings also contributed to the majestic interior, where no object or piece of furniture failed to enthrall.
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The interior had plenty to offer. I mused that there should be tours of the chateau offered from Prague. Libochovice deserved numerous accolades, and it was a chateau I would never forget, no matter how many chateaus I visited. The combination of artifacts and the design of the interior made Libochovice unforgettable, a place I could tour 100 times and not be bored. Every object spoke to me; nothing failed to capture my interest and curiosity. Yes, Libochovice is a special place, and my visit made my day a huge success.
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Tracy A. Burns is a writer, proofreader and editor in Prague.

Loučeň Chateau Diary

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Waiting for the tour to start, I was excited that I would soon see the historical interiors of a chateau I had never before visited. Although Baroque Loučeň (also sometimes referred to as Lautschin) had been open to the public since 2007, I had heard about by chance only in 2015 via an article posted on Facebook. The place sounded magical. I knew I had to make a trip there. And soon. While there are many tours for children, I had opted for the classic tour of the interiors.

I was surprised that a settlement at Loučeň had existed as far back as 1223. A castle was in the town even during the Middle Ages, but a turning point in the history of Loučeň came in 1623 when Adam von Wallenstein became the owner. That is when the chateau was built in Baroque style, construction taking place from 1704 to 1713. Adam had a famous nephew: Albrecht von Wallenstein had made quite a name for himself in the military. He even held the post of supreme commander of the armies of the Habsburg Monarchy and was a major player in the Thirty Years’ War. The Wallenstein family tree died out in 1752.
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In 1809 the Thurn und Taxis family came into the picture when Maxmilián Thurn und Taxis purchased the chateau. I had become familiar with this dynasty when I had visited Regensburg, where the family had had their main residence. I had toured their elegant palace and distinctly recalled the grotesque figures on the ceiling of the Conservatory, the Brussels’ tapestries in the Large Dining Room and the lavishness of the Rococo and Neo-Rococo Ballroom.

The family’s great influence on the postal system had left me in awe. The Thurn und Taxis family descended from the Tasso clan from the 13th century. During the end of the 15th century, Francesco Tasso created the first postal system going from Innsbruck to Brussels. It took a week for the mail to reach its destination. The key to its success was that the rider and horse were changed at each postal station. For his ingenuity, Tasso was given nobility status by Emperor Maximilian I and thus became Franz von Taxis in 1512. Before long the Thurn and Taxis family had the monopoly of the postal services in Central and Western Europe. By the end of the 18th century, the postal system was enjoying great success.
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The Thurn und Taxis clan had some prominent members, that’s for sure. For example, Rudolf von Troskow established the law journal Právník, the first of its kind in the Czech language. He also created some legal vocabulary that is still in use today. His interests were not limited to law, though. He was a patron of the arts as well.

During 1875, when Alexander Thurn und Taxis, a violinist and patron of the arts, wed Marie von Hohenlohe, an amateur painter as well as friend and patron of Rainer Maria
Rilke, times changed at Loučeň, a place many well-known artists and politicians proceeded to visit. Rilke stopped by – not once – but twice. He even dedicated his Notebooks of Malte Laurids Brigge to Marie. Composer Bedřich Smetana lived nearby toward the end of his life and performed on one of the Thurn und Taxis’ pianos. Smetana was a friend of the family; he dedicated his composition Z domoviny to Alexander. Other prominent visitors included Tomáš Garrigue Masaryk, the first president of Czechoslovakia, his daughter Alice, Czech writer Eliška Krásnohorská, musician Josef Suk and American storyteller Mark Twain.

Alexander Thurn und Taxis was a man of many accomplishments. He gave his animal trophies to Prague’s National Museum and helped build the first railway in the region. During the tour I would discover the role he played in bringing soccer to Bohemia.

The Dining Room

The Dining Room


The Thurn und Taxis clan would lose the chateau at the end of World War II, when it became the property of the state. In 1945 the Soviet army and locals plundered the chateau. Under Communism the chateau’s history was not rosy, either. It became a recreation center for Ministry of Transportation employees. Later it was turned into a railway trade school. A landmark event occurred when the company Loučeň a.s. took over the chateau in 2000. Even some of the original furnishings were retrieved.

Our guide was a descendant of the Thurn und Taxis family. I had never been on a tour led by a member of a family that had had such a remarkable impact on the chateau I was visiting. It was a real treat. In Staircase Hall I was captivated by a large painting of Duino Chateau, a romantic structure perched on a cliff in Italy. The young man’s parents were there now, he said. The place had been the Thurn und Taxis’ property for centuries. Rilke had written his Duino Elegies there.
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In the first room there was a sleigh which had been used to move the mail through snowy terrain. It was painted black and yellow, and it was no coincidence that taxis often used the same shade of yellow. In fact, the word taxi derives from the name Thurn und Taxis. I also saw the huge winter boots that a postman would have worn delivering the mail in wintry conditions. A map of Bohemia from 1720 hung on one wall. I loved old maps! It made me think of the vedutas and maps of towns at Mělník Chateau. The family’s coat-of-arms was prominent, too. It featured a badger. (The original name of the family, Tasso, means badger in Italian.)
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I wanted to sit in the red, plush chairs at the dining room table and stare at the exquisite porcelain service. Overall, there were 600 pieces, but only a portion of them were on display. The fancy gold candlesticks got my attention, too. In the Chinese Salon I was impressed with the big Chinese vases, so colorful with superb designs. The white wallpaper featured pink flowers and green leaves and had a sense of fragility and intimacy to it.

The Prince’s Study was filled with his souvenirs from two trips to Africa, including a crocodile. Paintings of horses also decorated the study. In one rendition a horse was jumping over a barrier in a Pardubice steeplechase race. (I would learn more about the Pardubice steeplechase when I visited Karlova Koruna Chateau a few weeks later.)
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In the Prince’s Bedroom I noticed a photo of Prince Alexander with his four cats, three of whom slept on the bed with him. Curled up on the bed were three stuffed animal cats. I thought that was an interesting touch. My late cat had almost always slept on my head during almost 15 years, and I thought of how much I missed him. I wondered what my five-year old cat was doing at that moment. She liked to sleep at the foot of the bed. I didn’t think I could live without cats in my life. Maybe Alexander had felt the same.

In the servant’s bedroom I saw something that really surprised me. At first I did not understand why there was an iron next to replicas of old banknotes. Then the guide explained. The servant ironed the prince’s money so that it would not be crumpled. That was not all. The servant also ironed the prince’s newspaper to prevent the color from fading and to keep it from getting dirty.

In the hallway I saw a vacuum from the 1930s and red buckets on one wall in case a fire would break out. A picture of the Loučeň soccer team from 1893 also hung in the hall. That team played in the first official soccer game in Bohemia, thanks to Alexander’s interest in the sport.
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An avid fan of classical music, I have always enjoyed visiting the music salons in chateaus. This time was no different. I tried to imagine Smetana performing on the piano in the room. On the piano was a red box of Mozartkugeln truffles. The music sheets were turned to Concertino for violin and piano by Leo Portnoff, who was born in Russia during 1875 and emigrated to the USA in 1922.) I wondered if Alexander had played the violin accompanied by Marie on the piano when performing this piece.

The Princess’ Salon was decorated with books by Rilke and an upright piano from the 18th century. The view of the park from the window here was very romantic and picturesque. There were 10 mazes and 11 labyrinths in the park. I would have to check it out later, I told myself. I loved the bright green painted walls and a nook in one part of the room. I wanted to relax and read, seated in that nook, losing myself in a mystery or art catalogue.

The Church of the Assumption of the Virgin Mary

The Church of the Assumption of the Virgin Mary


In the Princess’ Bedroom I saw her ravishing pink-and-cream wedding dress, which she had donned at age 40. I marveled at how young she looked in photos. Crowns and lions adorned the light blue wallpaper. A piano made by Rudolf Stenhamer in Vienna stood in the room, too. I admired the richly carved patterns on the front and back of the bed. I also was interested in the personal items that had belonged to the princess. On display were fans, a crocodile handbag and beautiful necklaces as well as a jewelry bag. The Oriental carpet was a nice touch, too.
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The Children’s Room came next and then a small classroom for Thurn und Taxis children. It was very plain. There was a small bench for two students with small blackboards. On the desk were two books called Histoire de la Revolution Française. In the Church of the Assumption of the Virgin Mary there was a real treat. The artwork over the main altar was made by my beloved Czech Baroque painter Petr Brandl. I recalled his altar paintings in the cathedral at Sedlec, which I had visited earlier that year for what must have been the fourth or fifth time. Still, his work never failed to amaze me.
The ceiling of the church

The ceiling of the church


The library consisted of a gallery and ground floor. One of the books prominently displayed was an English version of a fairy tale by Princess Marie – The Tea Party of Miss Moon. I would have been interested in reading it to get a sense of the princess’ writing style, but it was not for sale in the chateau shop. The most valuable book was the huge chronicle of the Thurn und Taxis family. Another enormous volume on a table tackled the theme of the romantic Šumava region in the Czech lands. The room was not without its distinguished family portraits, either.

I walked through the park a bit and then made my way to Nymburk, a town closely associated with my favorite Czech writer, Bohumil Hrabal. In Nymburk I did not have much time for sightseeing, though. I peeked into a Gothic church and had lunch before heading back to Prague, more than satisfied with the trip’s outcome.

View from Loučeň Chateau

View from Loučeň Chateau


Tracy A. Burns is a writer, proofreader and editor in Prague.

Lobkowicz Palace Diary

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It was one of those places I had been meaning to visit for a long time, but I had just never gotten around to it. Tomorrow. . .this week. . .next week. . .I would always stay home and write instead of visiting the Lobkowicz Palace. Friends and family raved about the museum. In August of 2015, I finally went to check out the Lobkowicz Museum, which opened in 2007.

The beginning of the audio guide tour had me hooked. William Lobkowicz, the current owner of the palace, did most of the narrating. His grandfather Max was married to a British citizen, Gillian. When World War I started, Max had been a very affluent man. During World War II he served as ambassador of the Czech government in exile in London. He was fervently against the Nazis and was an avid supporter of the democratic First Republic of Czechoslovakia. The Nazis disliked Max not only for his anti-Nazi activities but also because he had a British wife. After the Communists took control of the country in 1948, Max found himself trapped in Czechoslovakia. His wife sent him a letter from London, telling him she was gravely ill. She wasn’t, but the ploy worked. The Communists gave Max two days to visit her. With only his coat and the clothes he was wearing, Max fled from his homeland to join his wife in London. He left behind 13 castles. William’s father had been 10 years old at the time and had been sent to live in the USA.

Max Lobkowicz from lobkowicz-palace.com

Max Lobkowicz from lobkowicz-palace.com


What a story! It sounded like something out of a spy novel or film! It must have been so difficult to leave so much property and so many possessions behind. Thirteen castles! It must have been heartwrenching.

Then I found myself in a large room full of family portraits, starting with those of nobility from the house of Pernštejn. The portraits were not merely faces staring at me. Each portrait told a story about an individual thanks to the information on the audio guide. The people came alive as I listened to intriguing facts about their lives. When I was looking at the Pernštejns, I fondly recalled my visits to Pernštejn Castle in Moravia. It was one of my all-time favorites. I wonder if that had been one of the 13 castles grandfather Max left behind.
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Vratislav Pernštejn, born in 1530, held the distinction of being the first Czech to receive the Order of the Golden Fleece, achieving this feat at the tender age of 25. Later, many more Lobkowiczs would be honored with the award. The Lobkowicz clan was related to King Philip II of Spain, whose tenure on the throne lasted 40 years. His territories even included Central America, the Caribbean and parts of what is today the USA. At one time he was even the King of England. Nicknamed “Philip the Prudent,” he was the son of Holy Roman Emperor Charles V and Infanta Isabella of Portugal. The Philippine Islands were named after him. He founded the first trans-Pacific trade route between America and Asia. He also made sure the Ottomans would no longer be a formidable enemy of his lands. He also helped his empire get back on its feet in times of financial crises.
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I wished I could trace my family tree back so many centuries. I knew that I was of Slovak heritage on one side of the family, had a grandmother of Czech ancestry and a grandfather of Scottish origin, but I did not know any details. My ancestors from Moravia were named Mareš, a common Czech surname. My grandmother’s maiden name had been Šimánek, also a common name. I think my decision to move to Prague had something to do with filling up a vast emptiness about my family’s past, wondering who my ancestors were and what they were like. In Prague I felt in touch with a past I had never known, and that was one of the reasons Prague felt like home.

I was reminded of a Diego Velázquez exhibition I had seen in Vienna about a year ago when I gazed at the portrait of Infanta Margarita, then a four-year old member of the Spanish royal family. I recognized her from Velázquez’s masterpiece, Las Meninas. While Margarita was immortalized in portraiture, she did not enjoy a long life. She died during childbirth when she was only 22 years old.

I found the Lobkowicz’s involvement in the Defenestration of Prague fascinating. One painting showed the historical event, when Protestant nobles revolted against the Catholics and threw two Catholic ministers and a secretary out a window. This event triggered the Thirty Years’ War. Luckily, the three fell onto a pile of dung and did not die. Two of them took refuge in Lobkowicz Palace. According to legend, Polyxana Lobkowicz hid them under her skirts.
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In the next room I was surrounded by fine porcelain. I saw majolica service from Lombardy picturing a calming landscape of coastal scenes with mountains. It dated back to the 17th century and was made in Italy. I was also enamored by service from Delft, dating back to the late 17th century. I had always been fond of porcelain made in Delft.

The painting in the next room captivated me. Lucas Cranach the Elder had rendered Mary and the Christ child in a painting hailing from 1520. Saint Catherine and Saint Barbara also made appearances. I found out that Ferdinand Lobkowicz had been an avid art collector.
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In a separate space stood a processional reliquary cross, Romanesque in style. Hailing from north Germany in the beginning of the 12th century, it was made of gilded copper and adorned with 30 crystal cabochons. I couldn’t believe I was looking at something that ancient and in such good condition. Whenever I saw Romanesque churches, for instance, I could not believe I was standing in a structure built so many centuries ago. I briefly thought back to the Romanesque church with the fascinating façade in Regensburg.

Then I entered a room filled with weapons and knights’ armor. While I was impressed that the Lobkowiczs possessed such a superb armory, weapons were certainly not my cup of tea. I moved on and soon found myself surrounded by musical instruments, especially violins. I love classical music, and the room calmed me while the armory had made me anxious.

I stared for some minutes at the original score of Part III of the Messiah by Handel as arranged by Mozart. I also saw original scores by Beethoven and Mozart, two of my favorites. The first printed edition, dating from 1800, of the score for the oratorio of The Creation by Haydn also caught my attention. My mind wandered back to those classical music classes at Smith College, where I first became enamored with the above-mentioned composers and many more. An entire new world had opened up for me. I also spent some time gazing at the violins and clarinets, wishing I could play an instrument. I had taken beginners’ piano lessons in college for a year, but that was it. In college I always dreamed of being able to play an instrument well enough to major in music. But it had been just a dream. I wasn’t talented enough, and I had concentrated on my writing.

Haymaking by Pieter Bruegel the Elder, 16th century. Photo from www.wga.hu

Haymaking by Pieter Bruegel the Elder, 16th century. Photo from http://www.wga.hu


Soon I set my eyes on one of my all-time favorite paintings by my favorite artist, Pieter Bruegel the Elder. It was his rendition of Haymaking, one of only six panels representing the 12 months of the year. Each panel represented two months. Haymaking depicted June and July. I remembered gaping at the Bruegel collection in Vienna’s Kunsthistoriches Museum, where I had admired The Gloomy Day (Early Spring), The Return of the Herd (Autumn) and the Hunters in the Snow (Winter.) Bruegel’s paintings of the seasons had played a significant role in Western art. It was the first time that landscape was the main subject of the painting. Before, landscape had been utilized as a backdrop for religious figures. I admired how nature played a role in the lives of the people depicted in the paintings. Their daily activities were dictated by the seasons. I loved the way Bruegel depicted the common man in everyday activities and put so many details in his paintings. The landscape was stunning and idyllic, too.

The Croll Room was breathtaking. Carl Robert Croll had painted over 50 works for Ferdinand Joseph Lobkowicz during six years in the 1840s. I recognized Jezeří Castle, which the Lobkowiczs sold to the Czech state in 1996. I had visited Jezeří some years ago, but the chateau was in need of major reconstruction. Its location on a cliff was romantic, but restoring the interiors was going to take a lot of time. I wondered how far the restoration work had come during the past years. I also recognized Roudnice Chateau, shown Italian Baroque style from reconstruction that took place from 1653 to 1677. I had been to the art gallery at Roudnice Chateau some years ago, but most of the chateau was under reconstruction. Nelahozeves, also seen here, was one of my favorite chateaus due to its impressive art collection. Not far from Prague, I always recommended that visitors take a day trip there. I had even written a post about it for my blog.

City of London from River Thames with St. Paul's Cathedral on Lord Mayor's Day by Canaletto

City of London from River Thames with St. Paul’s Cathedral on Lord Mayor’s Day by Canaletto, Photo from http://www.wikiart.com


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Then I saw what have to be two of the most beautiful paintings in the world – two views of London by Antonio Canaletto. I loved Canaletto’s work because he brought out the atmosphere of the place he was painting. I could really feel as if I were looking at London and the Thames in his City of London from River Thames with St. Paul’s Cathedral on Lord Mayor’s Day from 1748 and in The River Thames Looking Toward Westminster from Lambeth from 1746-47. I recalled the extensive Canaletto exhibition I had seen in Aix-en-Provence during June. I loved the details of the boats and sails.
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On the first floor I saw a portrait of Princess Ernestine Lobkowicz clad in brilliant red and portraits painted by the princess in the 17th century. I wondered how many female portrait painters there had been in the 17th century. The Bird Room featured pictures of birds made with real feathers. On the audio guide William’s wife, Alexandra Lobkowicz, mentioned that she had found the pictures infested with insects and that they took almost a year to conserve. In the Dog Room I focused on a painting of two dogs proudly seated on velvet cushions in 1700. They looked so spoiled with their luxurious light blue and gold collars. Then again, I had always spoiled my cats.
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The Firanesi Room was filled with engravings of ancient and modern Rome, one of my favorite cities in the world. I recalled showing my parents the Colosseum, one of my most treasured memories of time spent with my Mom and Dad. The Oriental Room proved a delight as well. It featured nine Chinese embroidered silk panels hailing from the 18th century. I loved Oriental rooms in castles and chateaus. They were so elegant, and the wallpaper was always so beautiful. There was also a Chinese Room in the palace. It had a distinctive Oriental flair and dated from 1900. I loved the bright colors, too.
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Meissen porcelain in a Rococo cabinet

Meissen porcelain in a Rococo cabinet


Next came the Rococo Room, where two Rococo display cabinets displayed various objects, such as snuff boxes, exquisite fans and Meissen porcelain. I admired the rich carving of the woodwork on the cabinets. Seeing the Meissen porcelain reminded me of the Museum of Porcelain in Dresden, where there was so much Meissen to behold that it had been overwhelming for me. The superb display cases dated from the 18th century.
An allegorical fresco in the Dining Room

An allegorical fresco in the Dining Room


The Dining Room flaunted portraits and ceiling frescoes that enthralled me. I saw the Allegory of Europe, the Allegory of Asia and the Allegory of America, for instance. Poseidon and Bacchus appeared in several frescoes. I loved ceiling frescoes in chateaus, especially ones with mythological figures. The elderly attendant in the room described the various frescoes to me enthusiastically. It was nice to meet a museum attendant proud of the place where she was working.
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I punched in a number on the audio guide and listened to how the Lobkowiczs watched the Berlin Wall fall and the Velvet Revolution unfold on television. They returned to Czechoslovakia in 1990 and wanted to make the country their home. Under the first law of restitution, the Lobkowiczs had less than a year to find all the objects that belonged to their family and to make a list of them. It certainly had not been an easy process, but, luckily it had a happy ending.

At the end of the tour I walked by a small concert hall. It would be delightful to attend a concert in such an intimate space in a lavish palace. I would have to come back again to go to a concert. Classical music had played a role in the family history, so perhaps it was only fitting that they had a space for concerts.
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I was very impressed with both the palace and the narration on the audio guide. Lobkowicz Palace had a bit of everything – exceptional artwork from various centuries, impressive furnishings, ceiling frescoes, porcelain, musical instruments, original musical scores, weaponry and of course, portraits. I liked the variety of furnishings and pieces of art that I was able to see from various eras – a Romanesque processional reliquary cross and Rococo display cases, for instance. And the family history was so intriguing! What an ordeal William Lobkowicz’s grandfather had gone through! His possessions had not been taken away from him once, but twice – first by the Nazis and then by the Communists.

Now that I knew what an intriguing place the palace was, I was sure I would be coming back for another visit and for a concert sometime soon.
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Tracy A. Burns is a proofreader, writer and editor in Prague.
NOTE: No photos were allowed on the second floor, only on the first.

Valtice Chateau Diary

The exterior of Valtice Chateau

The exterior of Valtice Chateau

Often overshadowed by nearby neo-Gothic Lednice, Valtice Chateau is one of the most underrated sights in Moravia. I had visited Valtice Chateau twice before and was bewitched by the Baroque gem both times. The first time I came here, an employee took me quickly through the rooms as she did not want to give a tour to only one person. The Baroque and Rococo interior includes some original 18th century furniture, which never failed to impress me.

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Usually, I traveled to Lednice Chateau and Valtice Chateau by bus from Mikulov, where I had stayed in a hotel. To catch the bus back to Mikulov after visiting Valtice, I always had to hurry and had never had a chance to see the park. This time I was on a tour with the arsviva travel agency, whose tours I had taken to other sights in the Czech Republic and to towns in Germany. Seeing the garden and town were on the itinerary, too.

The facade of Valtice Chateau

The facade of Valtice Chateau

I already knew the background information. Valtice originated in the 12the century or earlier as a castle. The Liechtenstein clan would greatly influence the development of Valtice. They bought it in 1387 and kept the chateau in the family until 1945, creating a legacy that survived for almost 600 years. During 1560 they chose Valtice as their main residence. The castle became a Renaissance chateau during the 17th century. During the Thirty Years’ War the Swedes damaged Valtice. Later it got a Baroque makeover. Much construction took place during the 18th century. For example, the stunning chateau chapel was completed in 1729. At the end of that century, the chateau theatre was built. The garden, established during the Baroque reconstruction underwent renovations at that time.
Representative rooms at the chateau have been opened to visitors since the first half of the 19th century. Austro-Hungarian Emperor Franz Josef I and his wife Princess Elizabeth, often called “Sisi,” came to the chateau as did Austrian Chancellor Klemens von Metternich. When the chateau became the property of the Czechoslovak Republic in 1920, there were no changes made.

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But those golden days did not last forever. World War II came, and after the war the chateau was plundered. Considered to be traitors, Soviet prisoners-of-war were shot at Valtice. Then a section of the chateau became a forced labor camp for women while another part was used for drying hops. The grounds were in poor condition, too. Extensive reconstruction took place in the 1960s, and now Valtice is a Baroque beauty. The chateau even made the UNESCO World Cultural Heritage List during 1996, an honor that is well-deserved.

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The mammoth statues of Hercules in front of the chateau gave me an imposing welcome. When I looked up at them, I felt that I played such a small role in the huge, scary world. This feeling was not negative; rather, it was humbling. The comprehensive tour lasted one hour. It covered the representative rooms, the emperor’s apartments and the chapel that had been lauded throughout Central Europe.

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Our guide was a very scholarly and enthusiastic woman. She clearly liked her job. In the entranceway I saw Japanese porcelain from the 18th century as well as an impressive carriage. The Antechamber was a real treat – I loved the Oriental pink-and-green wallpaper decorated with pink flower buds. I loved the ceiling paintings throughout the chateau. They featured mythological characters. The Emperor’s Salon featured portraits of the Habsburg family – Maria Theresa and Joseph II were two of those making appearances. In another space I saw paintings of battle scenes from the Napoleonic Wars. In this particular room the Roman gods’ victory over the Titans was the pictorial theme.

The Dining Room

The Dining Room

The Dining Room was the biggest space in the chateau. The pink-and-grey imitation marble on the walls looked so elegant and majestic. Above the doors I saw extraordinary reliefs of musical instruments. It reminded me of college, when music had played such an important role in my life. I adored my private piano lessons, even though I was not very talented. During college I was introduced to the magical world of classical music, which I still listen to today. I even went to the symphony in a nearby town once a month, momentarily escaping university life. I should make music a more significant part of my present, I chided myself. The Baroque 18th century chandelier and the Empire style side tables added to the splendor of the room. The view of the park was superb, too.
In another space I liked the floral and bird motifs on the royal blue upholstery on the chairs. The design was so lively, so energetic. I also noticed a Baroque landscape painting by a Dutch painter. I had been enamored by Dutch and Flemish landscape renditions ever since my first semester of college, when I took a course on Dutch and Flemish art. The chandelier, though, was what fascinated me most. It featured Triton and was decorated with antlers. Somehow the two looked out-of-place together. They did not complement each other. Yet that only made the chandelier more unique and more intriguing.

The unique chandelier and exquisite furnishings

The unique chandelier and exquisite furnishings

The Red Salon or Smoking Room featured an exquisite large mirror. How I would love to look into that mirror every day! Olympic gods looked down on me from the ceiling. Paintings with biblical motifs also decorated the room. The two bureaus made with ivory were stunning, forged in the Florence style and dating from the 17th and 18th century. The jewel chest in the Ladies’ Salon showed off Chinese motifs, and the wings featured a Chinese landscape. The ceiling painting was outstanding; it showed the conquering of Troy. In a bedroom there was an elegant bed with canopy. The Madonna painting hanging behind it was a copy of a work by Raphael.

A captivating bed in Valtice Chateau

A captivating bed in Valtice Chateau

The Marble Salon boasted ornamentation from the 18th century. I loved the pink-and-grey imitation marble on the walls. It was so elegant, so sophisticated! I would love to have walls decorating in that fashion in my house. Floral still lifes dominated the walls, and the god Flora took precedence in the ceiling painting. On one wall in another room there was the shell of a huge tortoise between rifles. I had seen many hunting trophies on walls, but never that of a tortoise. The library featured over a 1,000 volumes, most in French but others also in German and Latin. There was even an old-fashioned elevator in the chateau.

Another exquisite bed in Valtice Chateau

Another exquisite bed in Valtice Chateau

It was a pity we could only see the chapel through a glass partition from one side of the upper level. I admired the richly decorated balcony of the chapel that dated from 1726. The intarsia on the benches below astounded me. Such exquisite detail! There were several paintings in the room from which we peered at the chapel. A 15th century oil painting of Jesus Christ with the Cross proved to be the oldest picture in the chateau. I loved the Baroque Picture Gallery with the paintings set so close together. It was overwhelming, though. There was so much to see on each wall. Hunting themes dominated the room. The ceiling painting carried the same theme – it featured Diana, goddess of the hunt. I loved the Holland Baroque furniture in the Study. It reminded me of the Holland Baroque furnishings I had seen at Český Šternberk Castle in central Bohemia. Other rooms featured ceiling paintings of the Allegory of Morning and the Allegory of Evening.

Valtice Chateau Park

Valtice Chateau Park

In yet another space there was a unique bureau. A section of it opened to reveal a desk, but the bottom part was for storing laundry. It was dazzling, made of ivory with intarsia from various woods. There were also Dutch still lifes of fruit and vegetables and an elegant, light blue bed with a canopy. The ceiling painting focused on the allegory of spring. I wanted to pick some of the flowers out of the basket that was portrayed there. The Reception Room featured pink chairs and wallpaper, giving it a cheerful atmosphere. Baroque landscape paintings dotted one wall.

Valtice Chateau Park

Valtice Chateau Park

Next we saw the Baroque park, built midway through the 18th century. Fascinating architectural objects had been situated there at one time. Perhaps it had been most famous for its gloriette. At the beginning of the 19th century, the park was expanded. There was even an amphitheatre with Baroque statuary built in the park during the early 20th century. Vases and benches had also been part of the park decor. Now those objects are gone, but the park remains intriguing with its many varieties of trees, bushes and flowers.

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We also visited the small town of Valtice, focusing on the main square. The Church of the The Assumption of the Virgin Mary, situated on the southeast side of the main square, was the most impressive sight in my opinion. The Baroque masterpiece hailed from 1679. It had been built after the earlier church collapsed. The church proved to be a harmonious and tranquil continuation of Roman architecture with significant sculptural decoration. At one time a painting by Peter Paul Rubens adorned the main altar, but it was transferred to Vienna during the Prussian Wars because of the threat of invasion by the Turks. Now it hangs in the National Gallery in London. The church has one rectangular nave with side chapels and a wide main altar. The stucco decoration and sculptural ornamentation is impressive. I was also intrigued by the cupola.

The interior of the Church of the Assumption of the Virgin Mary

The interior of the Church of the Assumption of the Virgin Mary

The interior of the Church of the Assumption of the Virgin Mary

The interior of the Church of the Assumption of the Virgin Mary

The Baroque Plague Column hails from 1670, when the lands were experiencing a plague epidemic. It was not completed until the second half of the 18th century. The Virgin Mary crowns the column while five saints also make appearances, including Saint Sebastian and John of Nepomuk, who was drowned in the Vltava River on the order of Bohemian King Wenceslas.

The Plague Column in Valtice

The Plague Column in Valtice

I was overjoyed that I had had the opportunity to see all the rooms open to the public plus the garden and town. Thanks to our superb tour guide, I learned information that I would have never known if I had come there by myself. I just wished tourists would appreciate Valtice as much as they did Lednice. Valtice shouldn’t be in second place but tied for first.

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Tracy A. Burns is a writer, proofreader and editor in Prague.

Mnichovo Hradiště Chateau Diary

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I had taken this train many times before, usually to Turnov, which was one stop further than today’s destination – Mnichovo Hradiště. The last time I had taken this route, the train had been furnished with new, comfortable seats, though the exterior had appeared dilapidated. This time, the seats were the usual ugly, red, vinyl kind divided into compartments that looked dirty. After riding the pleasant Viamont train to Bečov nad Teplou, I guess I had become a bit spoiled concerning train travel.

The trip took about an hour and 45 minutes, and it took another 15 minutes to walk through the pleasant town to get to the chateau. I remembered the chateau’s exterior from my visit here about 10 years ago, but it looked as if the walls had seen a few fresh coats of paint since my first time here. There were three parts to the tour – the Empire style theatre for about 50 or 60 spectators, the interior rooms with mostly 18th century furnishings and the lapidarium where 25 statues were kept in the church and chapel of a former convent.

The guide and I started with the tour of the theatre.  On the way there, we stopped in a hallway where I saw large portraits and Baroque bureaus. A huge painting traced the genealogy of the Waldstein family, the clan who had owned the chateau for generations. I picked out Vilém Slavata from Chlum and Košumberk in a long, red robe and big, red cap in one portrait. I had visited enough chateaus to know that this nobleman and writer had been thrown out a window of Prague Castle during one of Prague’s defenestrations. Thankfully, he had fallen on a heap of manure.  Passing the Hunting Hallway, I glanced at black-and- white graphics of various animals and noticed a depiction of a deer with one antler. Then we came to a machine that made the sound of wind. By turning a lever, the round, wooden contraption with a white sheet over it moved to produce the sound.

MnichovoHchateau6Then we entered the Empire style theatre. I took a seat on a bench that resembled the original seating. While the theatre was first mentioned in archival documents during 1798, it was renovated and given an Empire style appearance in the early 1800s on the occasion of the Holy Alliance negotiations, when Austrian Emperor Franz I, Russian Tsar Nicholas I and Prussian Crown Prince Frederick William discussed how to handle the revolts taking place throughout their lands, during 1833. The first play performed here was Carlo Osvaldo Goldoni’s The Servant of Two Masters, performed in German and Czech by actors who came from Prague. Three theatre groups from Prague’s Theatre of the Estates gave performances here for three nights. In the second half of the 19th century, the theatre fell into disrepair and was used as a furniture warehouse. It was not open for the public until 1999. The curtain was restored in 2001.

 I was enthralled by the romantic landscape backdrop that was currently on display. It gave me a soothing, calm feeling. Some of the 11 plain, flat backdrops that the theatre possessed included a street view, a castle, a hall with columns and Prague Castle with the Lesser Quarter and Charles Bridge. The stage was 32 feet wide, 28 and a half feet deep and four feet high while the proscenium opening was 22 feet wide and 13 and three-fourths feet high. The theatre had one curtain and 54 wings, which were set at an angle to the stage instead of being placed parallel to it, as was the usual custom. The theatre did not use a mechanized wing system or wing trolley, either, but rather employed a groove system that utilizes upper and lower grooves to assure that the wings will stay upright. Also, the wings in this theatre were double-sided and therefore could be reversed easily. On the back wall behind the balcony a large genealogy painting of the Waldstein family, complete with cherubs, caught my attention. It celebrated the family’s pride of its heritage. The theatre is still on occasions used today.

The chateau had an intriguing history. It was built in the 17th century, during Renaissance times. The owner Václav Budovce of Budov joined forces with other nobles in a revolt against the emperor and was executed on Old Town Square in Prague during June of 1621. In 1623 the chateau was confiscated and subsequently bought by Albrecht Eusebius of Waldstein.  In 1675 Arnošt Josef of Waldstein purchased it and kept it until the middle of the 20th century. The chateau was given a Baroque appearance in the early 1700s, although some rooms were given a Rococo makeover around 1750.

In a hallway full of portraits, I spotted the pointed beard of Albrecht of Waldstein, the one who had bought the chateau in 1623. A large painting explained the genealogy of Emanuel Arnošt of Waldstein. The guide said that when the researcher could not find all the ancestors of the Waldsteins, he made them up. The large, grey, puffy wig that Maximilian of Waldstein was wearing caught my attention, too. I also noticed that Count Vincenc had only one eye open. There was also a room to the side, roped off. Leaning over the rope, I glimpsed a tiny chapel with a Baroque altar of Saint John of Nepomuk and a Madonna with child. The altar was flanked by black Corinthian columns with golden tops.

Next came the Countess’ Antechamber. Someone had installed a 20th century telephone and placed it on a Baroque bureau, a sight which vividly contrasted the two eras, so far apart in technology and time. A still life painting adorned one wall, and a laundry basket with an exquisite floral pattern and muted yellow background sat on the floor. The stunning green, blue and brown chandelier symbolized the four seasons. I noticed that grapes stood for fall.

The oldest painting in the chateau, showing an old lecherous man and a young woman whom I suppose was very naive, hung on a wall of the Countess’ Bedroom. I noticed how both figures had baby pink skin. Why a countess would want such a painting in her bedroom is beyond me. In the visitors’ book, a thick, red book on an ancient desk, I could read the names of nobility such as Schwarzenberg and Lobkowicz.

MnichovoHchateau4The Italian Salon enthralled me with its stunning mural spanning three walls. The painter had never visited the Italian town presented; rather, he had painted it from an etching. From the embankment of the town pictured, one could see Naples and Venice in the distance. Two men and a woman were talking in one section, nobles had gathered in another, and in yet another part two men manned the oars of a small boat.

The Study, which later became known as the Music Salon, featured a piano with the white and black keys reversed. I had never seen a piano with this unique trait. The Baroque white tile fireplace was decorated with two sea monsters that were supposed to be dolphins, as they slivered through the water with their heads pointed down.  Small portraits also adorned the Music Salon. One showed Habsburg Empress Maria Theresa dressed in black, mourning the death of her husband.

The small picture gallery was roped off, which disappointed me. I wanted to study each painting in minute detail, but only was afforded a side view of the three walls totally covered in art. I noticed a woman reading while holding a skull and other paintings boasting hunting themes.

Next came the Hunting Salon. The three walls were covered in a mural painted in shades of dark green and featuring a forest, dogs and hunters. I noticed that a backgammon game consisted of pieces with faces carved on them.  The ceiling fresco was devoted to Diana, goddess of the hunt. She held an arrow; one of her plump breasts was bare. The room also boasted a secret door.

The biggest room in the chateau was the Dancing Salon or Reception Salon, Rococo in style. A mirror sat flat on a round table that looked like a three-tier table for cakes wheeled around in luxurious restaurants. Porcelain figures decorated the three tiers while murals decorated two walls. I spotted this very chateau in the background of one part of the mural. Men clad in red with dogs were seen in a forest as a woman stood in the doorway, something having caught her sudden attention.

The Ladies Salon featured murals on four walls. They showed a countess posing in different professions. She was portrayed as a dancer, a flower-seller, a hunter, a fisherwoman and a traveler, among others. In the depiction of the countess as a flower-seller, I took note of the English park in the background and the flowers that decorated her hat. I was enamored by the backs of the chairs on which landscapes had been painted. The floral cushions were exquisite as well.

MnichovoHchateau2The most beautiful room in the chateau, in my opinion, was the Delft Dining Room that is immersed in blue-and-white Delft Faience porcelain from the 17th to 19th century, all original and handmade. I noticed some geometrically shaped vases and admired the wooden compartment ceiling, too. The Waldstein gold with blue coat-of-arms decorated the center of the Renaissance ceiling. I noticed some plates on a wall featuring windmills while a tray depicted a park with a fountain and statue.

The Oriental Salon was full of Japanese and Chinese porcelain. I admired the orange and blue swirls of one Chinese plate hanging on a wall. The table and chairs were made of bamboo. Four vases represented the four seasons. A Japanese painted partition also adorned the room.

The table in the Meissen Dining Room was set for breakfast with its blue-and-white porcelain taking center stage. Yet what astounded me about Meissen craftsmanship were the chandeliers. Hailing from the beginning of the 19th century, this particular chandelier featured floral decoration colored green, pink, yellow and orange.

Although the library was composed of three rooms, a gate with bars prevented visitors from entering. This was the library where Giacomo Casanova had served as librarian during the 18th century, the guide reminded our group. His letters and manuscripts made up a significant part of the chateau archives, as did material from the Thirty Years’ War. I wished I could see more of the 22,000 volumes inside the gate as the shelves were decked with fiction as well as specialized literature, such as legal and historical works. Many books focused on alchemy, too. They were written in a variety of languages, including German, Latin, Czech, Italian and Hebrew. Two big globes stood in the foreground while a smaller globe and telescope could be seen in the background of the closest room.

Walking through a hallway before descending the stairs, I spotted a large portrait of an armor-clad Albrecht of Waldstein on a gray, spotted horse. Then it was time to visit the lapidarium.

The church and chapel of the former Capuchin convent appeared to be plain, nondescript. The exterior was even dilapidated. What was inside, though, proved absolutely stunning and breathtaking. As we first entered the Church of the Three Kings that joined the Chapel of Saint Anne, I saw about six small statues in a dark, small space. This will be disappointing, I remember thinking to myself. Then we turned the corner, and the room came alive with 25 statues of Baroque, Rococo and Empire style twisting and turning, dynamic and vibrant, most made of sandstone.

Home to these statues since 1966, the lapidarium featured monuments that had been deteriorating in the outdoors. Our group stood in front of the headstone of Alburtus de Waldstein, the name engraved prominently on one wall in what looked like marble. Then I walked through the room, my head spinning from all the dynamic and expressive movement flowing from the statues. I inspected the altar of the Saint Anne Chapel and noticed that Saint Anne had a child on her lap as they were reading, cherubs fluttering above. Next to them a figure seemed to be holding a painting.

MnichovoHchateau5Then I took in the statues. In a sandstone work hailing from the third quarter of the 18th century, the Virgin Mary had her hands clasped to her breast. A Saint John of Nepomuk portrayal by Josef Jelínek the Elder, dating from the second quarter of the 18th century and made of polychrome wood, featured that saint as a sort of visionary, peering into the distance, determined and confident. I noticed the dynamic folds in his white drapery. It looked as if they were fluttering in the wind. Another statue, named the Angel with the Attribute of Christ’s Suffering, had been erected in the early 1720s out of sandstone. I was stunned by the angel’s huge wings as the angel seemed to be moving toward the viewer, about to trample him or her. I also noticed the angel’s crushed nose and wished the statues were in better condition. If I was a millionaire, I would donate money to preserving Czech chateaus and castles, so that fascinating statues such as these could be restored.

The Lion and Putto, by master Ignatius Francis Platzer, was made of sandstone and hailed from the 1750s or 1760s. Putto, clutching a shield, was riding on an enormous lion. Perhaps the best known statue in the collection was Matthias Bernard Braun’s Perseus, a sandstone work from the early 1730s. Perseus appeared calm, not at all tormented, and I took note of his fluttering drapery and twisting body. Then I walked over to Saint John of Nepomuk with Two Angels by Karle Josef Hiernle, a sandstone piece from 1727. John of Nepomuk was flanked by two angels. One angel lightly touched the sleeve of John of Nepomuk’s garment. An angel held a finger to his lips, while the other pointed toward Heaven. Cupid heads decorated the bottom of the sculpture. John of Nepomuk ‘s head was leaning to the right, his hands were clasped and his eyes closed as if he were meditating.

After thoroughly enjoying my inspection of the statues, I went to lunch, where I ate my favorite chicken with peaches and cheese. Soon afterwards, I took a bus from the main square directly to Prague. Once again, I was fascinated by everything that I had seen in the chateau, and I needed time to process all the information and all the beauty that had surrounded me.

Tracy A. Burns is a writer, proofreader and editor in Prague.

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Regensburg Diary

A view of the town from the Stone Bridge

A view of the town from the Stone Bridge

 

My boss at a languageschool where I had taught had praised Regensburg back in 1997. Ever since then, I had wanted to visit the historic town, but the trip kept being postponed. Then I went on a one-day excursion with arsviva to Bamberg, Germany and got my first taste of the wonders of Bavaria. (I only have faint memories of my visit to Munich when I was nine years old.) I was so enthralled with Bamberg that I just had to explore other towns in Bavaria. So, during October of 2013, the next time I had a few days off work, I took the train to Regensburg.

The direct train only took a little over four hours to get to the only preserved medieval town in Germany. On the train I acquainted myself with the history of this architectural gem. A UNESCO World Heritage site since 2000, Regensburg did not experience much destruction during World War II, enabling it to keep its medieval character. A Roman military camp was located there as far back as 179 AD, and the Romans would greatly influence the town for 300 years. During the Middle Ages, emperors, dukes and kings had frequented the town. After it became a part of the Carolingian Empire, Charlemagne visited Regensburg three times. Regensburg acquired the status of a Free Imperial City in 1245 and also was a bustling trade center. The town lost its independence and became part of the Duchy of Bavaria in 1486, but soon the tables turned again, and Regensburg regained its independence.

The facade of an architecturally intriguing building in Regensburg

The facade of an architecturally intriguing building in Regensburg

When the Turks overtook Constantinople, this Bavarian city was no longer a gateway to the East, triggering financial hardships. As a result, according to the unwritten law that blamed minorities for economic difficulties, the Jews were expelled in 1519. During 1542 Regensburg became a Protestant town. The town became a household name once again when the Imperial Diet political gatherings took place there for 150 years, from 1663 to 1806, when the assembly of estates held conferences at the Old Town Hall. Electors and princes were among those present for the meetings.

During Napoleon’s reign the town found itself in dire straits. The Imperial Diet was cancelled in 1806, and Regensburg was stripped of its independence once again. In 1810 it became a part of the Kingdom of Bavaria. From 1945 to 1949, the town was the site of the largest displaced persons’ camp in Germany, with mostly Ukrainians in residence. And to think that throughout all those centuries, throughout all those trials and tribulations, Regensburg never lost its medieval flavor!

The Hotel Kaiserhof across from the cathedral

The Hotel Kaiserhof across from the cathedral

My hotel, the pistachio-colored Hotel Kaiserhof, was situated across from St. Peter’s Cathedral, a Gothic wonder. The clean, no-frills, comfortable room sported a double bed, even though I was paying for a single room. I had stayed in other singles the size of a closet in various hotels throughout Europe. It was refreshing to find myself in a room that was spacious enough, though not large.

After unpacking the necessities, I headed straight for the St. Peter’s Cathedral. The first cathedral in the town had hailed from the end of the eighth or ninth century, but it fell victim to a fire in 1273. Then this cathedral was erected in a Gothic style inspired by France.  However, there were interruptions, and the cathedral was not completed until 1872, some 600 years later. The west façade boasts two towers while the cathedral has a triple-choir design. The nave is short and has five bays. I had read that the architectural design of the cathedral had influenced Peter Parler’s plans for Prague’s St. Vitus Cathedral, my favorite cathedral in the world.

St. Peter's Cathedral

St. Peter’s Cathedral

The medieval sculptural decoration on the façade, which dated from around 1400, was breathtaking.  On the train I had learned that this sculptural adornment ranked among the most impressive artistry of the Middle Ages. I gazed up at the main portal with its stunning tympanum and the 22 reliefs focusing on the Virgin Mary’s life.

On the south portal I was awed by a scene showing St. Peter being scooped out of prison by an angel.  I could hardly believe that the relief hailed from 1320. The tympanum of the south façade boasted plentiful rich sculptural ornamentation as well. Reliefs decorated the buttress fronts, too. I spotted St. Peter in a boat, a rendition that I knew appeared on the current coats-of-arms for the cathedral chapter.

However, it made my stomach churn when I saw a sculptural figure of Jews suckling from a pig. I recalled reading that Jews had been expelled from the town in the 16th century. The anti-Semitic artwork reminded me of the anti-Semitic and racist portraits of a Jew, an Arab and a black man stricken with diseases in the library of the Hrádek u Nechanic Chateau in Bohemia. I also recalled eating in a pizzeria in downtown Prague a few years ago, when a waiter told me that Neo-Nazis were marching through the Jewish Town. I also thought of the prejudice against Roma in Czech society today. So many centuries later and religious and racial tolerance were still serious concerns.

The rich ornamentation on the facade of the cathedral

The rich ornamentation on the facade of the cathedral

Upon entering the cathedral, I was instantly transported back to the Middle Ages. It was dark and gloomy except for the light that the stained glass windows let in, giving the cathedral an airy quality. Made from 1300 to 1370, the windows had a mystical aura. I felt as if the light cleansed me spiritually, as if it cleansed my soul. I was so entranced. I could not believe I was looking at original Gothic stained glass. I had read that one window portrayed scenes from Christ’s childhood while another showed scenes from the lives of St. Peter and St. Paul. Pictures of saints decorated the windows, too. Some of the stained glass came from the original cathedral that had burned down. That part was in Romanesque style, dating from 1230.

The vibrant colors inside the cathedral

The vibrant colors inside the cathedral

Then I took notice of sculptural figures of St. George and St. Martin on horseback. They were remarkable works of art hailing from the 14th century.  I also saw something I had never seen before – creepy creatures with human heads in niches near the main entrance. Called the Devil and his Grandmother, the figures supposedly kept away any evil spirits that might try to wander inside. Bishops’ tombs also made up the interior. A stone sculpture of a Madonna and Child above one altar was created in 1320. A huge colored wooden crucifix dated from the 16th century. The main altar was silver and was made glorious by busts of St. Mary and St. Joseph as well as Saints Peter and Paul.

On one section there was a relief of St. John of Nepomuk, a Czech saint who was thrown into Prague’s Vltava River from the Charles Bridge on the order of Bohemian King Wenceslas IV, who was married to Joanna of Bavaria. The Queen’s confessor, John of Nepomuk would not tell the king what his wife had said to him in confidence. I thought of the many times I had walked by the five-haloed statue of St. John of Nepomuk on the Charles Bridge. Once again focusing on this cathedral, I was amazed by the ribbed vaulting designed with crossing piers. There was a Late Gothic pulpit, and exquisitely carved Baroque stalls adorned the nave.

One of the side altars in the cathedral

One of the side altars in the cathedral

Another highlight of the interior for me was the Smiling or Laughing Angel, one of the Annunciation figures. Enthusiastic about bearing exciting news for Mary, the angel was absolutely jubilant, and the sense of pure happiness that emanated from the sculpture made me joyful and thankful for everything I had in life. The joy was characterized by a sense of innocence, and it brought to mind the happy moments of my childhood. Opening Christmas presents in my grandparents’ house as Grandpa pretended to be Santa Claus, striking out batter after batter in Little League baseball, riding my sleigh in the fresh snow near our townhouse, reading Paddington the Bear books over and over, holding my Paddington and Snoopy stuffed animals, receiving an autographed picture from one of my favorite baseball or ice hockey players, hugging my mother and knowing that everything would be okay. I was amazed that a sculptural figure from the late 13th century could depict emotions so poignantly.

Downtown Regensburg

Downtown Regensburg

Then I walked around the center of the town, admiring the large patrician houses, some even with towers. One building dating from the 14th century even had a fresco of David and Goliath, created from 1570 to 1580. Dating back to the 12th century, the Stone Bridge measures 30 meters in length and includes 15 arches. I tried to imagine knights of the second and third Crusades marching over the bridge on their way to the Holy Land. The views of the river and town from the bridge were incredible. I loved the small street called Kramgasse, next to my hotel. Once home to shops of grocers and junk dealers, now it flaunted luxurious shops. The oriels on the buildings intrigued me. 

There were other delights in this colorful, vibrant town, too. The Fountain of Bishop’s Court was built in 1980 and showed a priest giving a sermon to geese while a fox nabbed one goose by the neck.  In the tale the priest is an impostor, the Devil pretending to be a man of the cloth. It made me think of the false friends I had known through the years, the times I felt betrayed by people I had trusted.

View from the Stone Bridge

View from the Stone Bridge

I explored Neupfarrplatz, where the homes of 500 Jews had once been located until their expulsion in the early 16th century. The homes were gone now, and stylish shops lined the square. A reminder of the Jewish presence in the town, a relief showed the floor plan of a Jewish synagogue that had once stood near the middle of the square. I felt an emotional connection with the relief. It was modern and fresh, yet also represented the lost history of the town.

The Goldener Turm, built from 1250 to 1300, included the highest patrician tower in the city. Part of the Old Town Hall dated from the 13th century and had a tower, too. I was intrigued by its Gothic windows. Patrician houses also lined Haidplatz Square. Emperor Karl V had been a guest at the architecturally captivating Goldenes Kreuz building. I also gazed at the Porta Praetoria Roman gate from 179 AD with its stone arch and side tower. As I walked through the center of town, I was surprised that Regensburg had so many tea shops and bookstores. A teetotaler and a literature addict, I wandered through each one. The varieties of teas offered were astounding.

In the morning I ate croissants in the hotel’s quaint breakfast room and headed for the Collegiate Church of Our Lady of the Alte Kapelle. A farmer’s market was in progress in the square where the church was situated. All the fruit and vegetables looked delicious. 

The interior of the Alte Kapelle

The interior of the Alte Kapelle

I knew the church dated from 875, when a grandson of Charlemagne had it erected. The medieval sculptures decorating the main portal did not prepare me for the strikingly different interior. I gaped at the 18th century Baroque and Rococo ornamentation. This was definitely one of the most beautiful chapels I had ever seen.  It was light and airy, full of vibrant colors that emitted joy and hope. The main painting depicted the Pope handing Holy Roman Emperor Henry (Heinrich) II a picture of the Virgin Mary.  It was only possible to see the two naves and six bays through an iron grille, unfortunately. I longed to walk through the chapel and peer closely at each decoration.

The Alte Kapelle

The Alte Kapelle

The stucco work was astounding, and the white walls were adorned with putti. The frescoes narrated described the legend of how the church came into being. They also celebrated the Virgin Mary as the patron saint of the church and glorified the founders of the church, Emperor Henry II and Empress Cunigunde of Luxembourg. Emperor Henry II had believed in centralized authority and had strongly supported the Catholic Church. Due to his devotion to the Catholic Church, Pope Eugene III canonized him in 1146. He was the only German bestowed this honor. His wife Cunigunde was involved in politics, participating in the Imperial Diets in Regensburg. She is said to have performed miracles, such as walking over flaming irons. One fresco showed the Virgin Mary as the Queen of Heaven, surrounded by angels and saints. The main altar was decorated in rocaille and focused on the Virgin Mary. God the Father was perched on a globe above her, and a dove symbolizing the Holy Ghost also appeared.

It fascinated me that this church retained elements of the Middle Ages and at the same time celebrated the Baroque and Rococo periods with a flourish. I could not get over how the 18th century styles gave the chapel a sort of weightlessness and airiness that so poignantly represented joy and hope for me.  It was uplifting. I was in an ever better mood when I left the chapel, after staring through the grille for at least a half hour.

Next I found my way to the Emmeram Abbey. I would be touring the Thurn und Taxis Palace adjacent to it later in the day. The monastery had gained independence from the bishopric in 975 and did not lose its independence until 1803. Then, at the beginning of the 19th century, the abbey was secularized. The King of Bavaria gave the Thurn und Taxis family the monastery because the postal services that they had managed for centuries had been nationalized. I had read that the stone reliefs on the north portal, dating from the Middle Ages, were the oldest north of the Alps.

Religious ornamentation on the facade of a building

Religious ornamentation on the facade of a building

The complex was named after the bishop Emmeram, who had lived in Regensburg in the 700s. Inside frescoes told his exciting life story: He had worked as a missionary for Theodo I, the Duke of Bavaria and was much respected throughout the realm. Then the duke’s unwed daughter confided in him that she was pregnant, and she did not want to tell the duke who the father was. Emmeram advised her to lie and say that he was the father. Then he set off on a pilgrimage to Rome.

When the duke’s daughter told her father the news, he had his son and followers chase Emmeram. When they caught the pious missionary, the duke’s followers tied him to a ladder and chopped him into pieces, slowly torturing him. Then the duke found out that Emmeram was not the father of his daughter’s child and ordered his body to be bought back to Regensburg. Emmeram was made a saint.  I also saw fascinating altars and a crypt dating from 780, showing off masterful Romanesque architecture.  The high altar hailed from 1669.

My next stop was the palace. I had to use an audio guide at the palace because the tours were only in German.  I was disappointed that the Electors’ Fountain was covered in scaffolding. I wanted to see the sculpture of Emperor Arnulf bearing a scepter and shield and the eight coats-of-arms standing for the Holy Roman Empire and the seven electors who selected the emperor.

The architecture of Regensburg

The architecture of Regensburg

Upon entering the palace, we came to a monumental marble staircase. The guide spoke animatedly for some minutes before my audio guide started. The German-speaking tourists were enthralled with whatever he was saying. Then we went up one of the 14 marble staircases in the complex that was the largest residential palace in Germany. It included more than 500 rooms. A ceiling  painting looked as if it was about to burst with color above the staircase.

The Thurn und Taxis clan dated back to the 13th century when the family was named Tasso. During the end of the 15th century, Francesco Tasso created the first postal system going from Innsbruck to Brussels. It took a week for the mail to reach its destination. The key to its success was that the rider and horse were changed at each postal station. For his ingenuity, Tasso was given nobility status by Emperor Maximilian I and thus became Franz von Taxis in 1512. By the end of the 18th century, the postal system was flourishing.

Then bad times came. At the beginning of the 19th century, most of the postal service was nationalized. The French Emperor Napoleon Bonaparte put an end to the Thurn und Taxis’ control of the postal service in 1815. After the Napoleonic era, the family managed the postal service once again, but only until Otto von Bismarck became Chancellor of the North Germany Federation in 1867. A very conservative politician and nationalist who did not favor democracy, the prominent Prussian statesman was responsible for forming the German Empire in 1871.

A fascinating facade in downtown Regensburg

A fascinating facade in downtown Regensburg

I was intrigued by the grotesque figures on the ceiling of the Conservatory, also called the Winter Garden. Female figures represented the seasons, though winter was conspicuously absent. I noticed that a sickle and grain stood for summer. The Brussels’ tapestries in the Large Dining Room were astounding. The Throne Room featured a throne from the 18th century and tapestry decoration. The Ballroom took my breath away. Its wall paneling, frames, balustrades and stucco ceilings boasted Rococo and Neo-Rococo styles. Faience Neo-Rococo stoves were present, too. The Ballroom, created in 1730, had been transported from Frankfurt to Regensburg in 1890, when the Thurn und Taxis clan moved to Regensburg. Even the glass chandeliers had been equipped with electric lighting at the end of the 19th century. I liked the idyllic landscape paintings hung high on the walls and the rich white decoration that included garlands and putti as well as plant and ribbon motifs.

I noticed a portrait of Elizabeth of Austria, often called Sisi, in the Balcony Room. Because her sister Helene was married to Crown Prince Maximilian Anton von Thurn und Taxis, she had often stayed here. The sisters’ father had been a Bavarian Duke while their mother was the daughter of the Bavarian King. I had read how uncomfortable Sisi had felt around the ceremony of royal life and how she had been a free spirit who had traveled around the world. I thought about Franz Joseph intending to propose to Helene but changing his mind and asking for Sisi’s hand in marriage instead. And I thought of Sisi’s assassination in Geneva, when an Italian anarchist stabbed her while she was taking a walk. And I remembered reading about the lavish funeral with all the pomp and ceremony that she had despised.

The gate to the Stone Bridge

The gate to the Stone Bridge

The Silver Room featured a silver chandelier with cupids holding candles. The tapestry with a battle theme in the Gobelin Salon got my attention as well. The Yellow Salon exploded with color. It was decorated in Rococo style and dated from about 1740.  I tried to imagine members of the noble family playing music here, the tinkling of piano keys or rich melody of a clarinet. I was happy whenever I saw yellow because it was my Mom’s favorite color and the color of the kitchen walls in my parents’ house. I recalled all the earnest conversations I had with my Mom, seated at that circular kitchen table, sipping green or black tea.

The Green Salon had served as a bedroom for Princess Therese from 1812. I was mesmerized by the bed decorated with four swan figures on its legs. I loved the detail of the feathers and long necks of the swans. A curtain was adorned with gold bees. Both the swans and bees were characteristics of the French style that dominated this room. In the Czar Nikolaus Salon a portrait of Princess Theresa von Thurn und Taxis showed the 37-year old clad in a chemise dress and wearing pearls in front of a forest. I noticed an exquisite blue with gold tea set in another room.

Then we came to a contemporary art exhibition of portraits of the living family. The portraits of four women and one young man had blinking eyes. I thought it was a good idea to put portraits of the current family in the exposition, but I did not understand why their eyes were blinking. I guess it was meant to emphasize that they were living, that the tradition of the family continued, but it seemed out-of-place with the décor of the other rooms. Then I saw the House Chapel that had once been a bedroom for Crown Princess Helene. After the Princess’ death in 1890, her son Prince Albert I had it reconstructed into a chapel. The alloyed coats-of-arms decorating the windows impressed me.

Regensburg's cathedral dominates the skyline.

Regensburg’s cathedral dominates the skyline.

Next we entered part of the cloister. I imagined monks walking through the round Romanesque arches while singing hymns. I saw statues dating back to 1200. I imagined how the room had looked in the Middle Ages with its then colorful decoration depicting biblical stories. I admired a Neo-Gothic tomb chapel as well. Another wing featured high and thin Gothic arches. The cloisters were certainly full of architectural wonders!

After touring the palace, I visited its museum. I saw a Japanese lacquered cabinet from 1690 and took special notice of the exquisite Asian landscape scenes on the front. White gold porcelain featured floral motifs. A ceremonial carrying chair also caught my attention. Medals from the chivalry Order of the Golden Fleece that was founded in 1430 and 55 richly decorated 18th century snuff boxes also made up the exhibition. One room was decorated with Biedermeier furniture, dating from 1815 to 1848. The furniture was not positioned against the walls in order to encourage communication. The highlight, though, was the white with gold porcelain service set from the early 1700s, made by a Viennese manufacturer that had only been in existence for 30 years. It was the only complete service of this manufacturer in the world.

The Old Town Hall

The Old Town Hall

I had a late lunch at an otherwise empty café near the monastery. It was decorated plainly and appeared to be a place for locals as the menu of five entrees was written only in German. I imagined that the restaurant would be packed on weekdays. I chose the Wiener Schnitzel and received a generous portion. It was delicious. I had dessert at the oldest coffeehouse in Germany, the Café Prinzess, where I managed to find a free table despite the crowd. I ordered almond cake and green tea. Surprisingly, service was not slow. The cake and the green tea were excellent.

Soon it was time for the English tour of the Old Town Hall across the street from the coffeehouse. I got a free ticket because I have a press pass and would be writing about the exhibition. However, only the torture chambers in the cellar were open that day. The lavish rooms once used for the Imperial Diet were closed for a conference. Two tourists complained that they had to pay full price for their tickets, even though the Imperial rooms were off limits that day. They decided to come back the following day when both parts of the tour would be open. I was leaving the next day, so I had no chance of seeing the Imperial rooms on this trip.

For almost 150 years from the 17th to the beginning of the 19th centuries, the Imperial Assembly had held political meetings in this building. But the Imperial history of the town was above, in those lavish rooms that I could not see. I descended into the torture chamber, which helped paint a portrait of the history of the town. I peered down at a dungeon that was three meters deep with no light. A Jewish gravestone served as the toilet seat, another reminder of the rampant anti-Semitism that had riddled the town. Once again, I recalled the 1519 expulsion of the Jews.

An ancient door at the Old Town Hall

An ancient door at the Old Town Hall

I also saw a so-called spiked rabbit, consisting of spikes on a wooden chair. I could not imagine the pain a person would feel seated on those spikes. It was too awful to think about. Some prisoners were locked in a neck iron, exposed to the public in a pillory. I also saw a timber cell without any light.  Prisoners sentenced to death stayed in the Dead Man’s Cell, where there was light and fresh air. An opening allowed family members to touch the incarcerated’s hands before the execution. A big beam balance from the 16th century kept the merchants honest. If merchants cheated customers, they went to the pillory.

The instruments had been used from 1530 to 1781, during three centuries. It was difficult for me to imagine that such horrific methods had been used for such a long time. Then again, in in today’s world there is waterboarding. When the accused was detained, he or she might have heard a concert taking place in one of the Imperial rooms above, but the prisoners were never tortured to musical accompaniment.  

The Romanesque portal at St. James' Church

The Romanesque portal at St. James’ Church

I walked around town for the rest of the day, the history of the town seeping into my soul. The next morning I had a little time before I headed to the train station. I was disappointed that I did not have a chance to visit any of the museums, especially the Historic Museum that told the tales of the town from as far back as Roman times.

First I walked to the Church of St. James, which was built by Scottish monks in 1150. The church still retained its Romanesque style. The entrance portal was pure Romanesque, richly decorated with sculptural figures and grotesque symbols. The architectural gem was encased in glass, so there was a physical barrier between the viewer and the object. I could understand the need to protect such an ancient treasure, but the glass barrier restricted the visual communication with the viewer. I gaped at the entrance portal for about a half hour. The interior was austere but beautiful.

Next, I headed for Dachauplatz, trying to find the remnants of the Roman wall as they were marked on my map. A small section of the wall that did not even come up to my knees disappeared into a parking garage. Modernization had destroyed some of the historical roots of the town, replacing significant reminders of the past with an eyesore common in the contemporary world. I was very disappointed that a car park had been built in the historical center of the town, marring the cityscape. I had read that in the past a monastery had been on the premises.

The decoration on the Romanesque portal

The decoration on the Romanesque portal

As I had made my way to Dachauplatz, I had taken note of all the various architectural styles of the buildings and the artwork adorning the facades. Standing on the square, facing the Historic Museum, I tried to imagine what it would have been like to have been present in 1945, near the end of the war. Residents had taken part in a demonstration, eager for the Americans to take over the city. Some protestors were executed in that same square.

Soon it was time to take the train back to Prague. I yearned to visit the town again and to get to know Bavaria even better. On the train a pleasant surprise awaited me. I began chatting with the woman seated across from me, an American world traveler in her sixties on her way to Prague. It turned out that she also loved reading mysteries and adored cats. As we discussed many topics, I realized that the best thing about traveling is the people you meet on the way to your destination. We would keep in touch, for sure.

I returned to Prague, elated, ready to face the long winter ahead with energy and enthusiasm and ready to plan a spring trip back to Bavaria.

Tracy A. Burns is a writer, proofreader and editor in Prague.

 

Another look at the Romanesque portal of St. James' Church

Another look at the Romanesque portal of St. James’ Church